happened to leave the wardrobe, and at the same moment Bandinelloentered. When the Duke saw him, his countenance contracted, and he askedhim drily: “What are you about here?” Bandinello, without answering,cast a glance upon the box, where the statue lay uncovered. Thenbreaking into one of his malignant laughs and wagging his head, heturned to the Duke and said: “My lord, this exactly illustrates thetruth of what I have so often told your Excellency. You must know thatthe ancients were wholly ignorant of anatomy, and therefore their worksabound in mistakes.” I kept silence, and paid no heed to what he wassaying; nay, indeed, I had turned my back on him. But when the brute hadbrought his disagreeable babble to an end, the Duke exclaimed: “OBenvenuto, this is the exact opposite of what you were just nowdemonstrating with so many excellent arguments. Come and speak a word indefence of the statue.” In reply to this appeal, so kindly made me bythe Duke, I spoke as follows: “My lord, your most illustrious Excellencymust please to know that Baccio Bandinello is made up of everything bad,and thus has he ever been; therefore, whatever he looks at, be the thingsuperlatively excellent, becomes in his ungracious eyes as bad as canbe. I, who incline to the good only, discern the truth with purer sense.Consequently, what I told your Excellency about this lovely statue ismere simple truth; whereas what Bandinello said is but a portion of theevil out of which he is composed.” The Duke listened with muchamusement; but Bandinello writhed and made the most ugly faces--his faceitself being by nature hideous beyond measure--which could be imaginedby the mind of man.

The Duke at this point moved away, and proceeded through some groundfloor rooms, while Bandinello followed. The chamberlains twitched me bythe mantle, and sent me after; so we all attended the Duke until hereached a certain chamber, where he seated himself, with Bandinello andme standing at his right hand and his left. I kept silence, and thegentlemen of his Excellency’s suite looked hard at Bandinello, titteringamong themselves about the speech I had made in the room above. So thenBandinello began again to chatter, and cried out: “Prince, when Iuncovered my Hercules and Cacus, I verily believe a hundred sonnets werewritten on me, full of the worst abuse which could be invented by theignorant rabble.” [1] I rejoined: “Prince, when Michel Agnolo Buonarrotidisplayed his Sacristy to view, with so many fine statues in it, the menof talent in our admirable school of Florence, always appreciative oftruth and goodness, published more than a hundred sonnets, each vyingwith his neighbour to extol these masterpieces to the skies. [2] Sothen, just as Bandinello’s work deserved all the evil which, he tellsus, was then said about it, Buonarroti’s deserved the enthusiasticpraise which was bestowed upon it.” These words of mine made Bandinelloburst with fury; he turned on me, and cried: “And you, what have you gotto say against my work?” “I will tell you if you have the patience tohear me out.” “Go along then,” he replied. The Duke and his attendantsprepared themselves to listen. I began and opened by oration thus: “Youmust know that it pains me to point out the faults of your statue; Ishall not, however, utter my own sentiments, but shall recapitulate whatour most virtuous school of Florence says about it.” The brutal fellowkept making disagreeable remarks and gesticulating with his hands andfeet, until he enraged me so that I began again, and spoke far morerudely than I should otherwise have done, if he had behaved withdecency. “Well, then, this virtuous school says that if one were toshave the hair of your Hercules, there would not be skull enough left tohold his brain; it says that it is impossible to distinguish whether hisfeatures are those of a man or of something between a lion and an ox;the face too is turned away from the action of the figure, and is sobadly set upon the neck, with such poverty of art and so ill a grace,that nothing worse was ever seen; his sprawling shoulders are like thetwo pommels of an ass’ pack-saddle; his breasts and all the muscles ofthe body are not portrayed from a man, but from a big sack full ofmelons set upright against a wall. The loins seem to be modelled from abag of lanky pumpkins; nobody can tell how his two legs are attached tothat vile trunk; it is impossible to say on which leg he stands, orwhich he uses to exert his strength; nor does he seem to be resting uponboth, as sculptors who know something of their art have occasionally setthe figure. It is obvious that the body is leaning forward more thanone-third of a cubit, which alone is the greatest and most insupportablefault committed by vulgar commonplace pretenders. Concerning the arms,they say that these are both stretched out without one touch of grace orone real spark of artistic talents, just as if you had never seen anaked model. Again, the right leg of Hercules and that of Cacus have gotone mass of flesh between them, so that if they were to be separated,not only one of them, but both together, would be left without a calf atthe point where they are touching. They say, too, that Hercules has oneof his feet underground, while the other seems to be resting on hotcoals.”

Note 1. Vasari confirms this statement. The statue, which may still beseen upon the great piazza, is, in truth, a very poor performance. TheFlorentines were angry because Bandinello had filched the commissionaway from Michel Angelo. It was uncovered in 1534, and Duke Alessandrohad to imprison its lampooners.

Note 2. Cellini alludes of course to the Sacristy of S. Lorenzo,designed by Michel Angelo, with the portraits of the Medici and statuesof Day, Night, Dawn, and Twilight.

LXXI

THE FELLOW could not stand quiet to hear the damning errors of his Cacusin their turn enumerated. For one thing, I was telling the truth; foranother, I was unmasking him to the Duke and all the people present, whoshowed by face and gesture first their surprise, and next theirconviction that what I said was true. All at once he burst out: “Ah, youslanderous tongue! why don’t you speak about my design?” I retorted: “Agood draughtsman can never produce bad works; therefore I am inclined tobelieve that your drawing is no better than your statues.” When he sawthe amused expression on the Duke’s face and the cutting gestures of thebystanders, he let his insolence get the better of him, and turned to mewith that most hideous face of his, screaming aloud: “Oh, hold yourtongue, you ugly&hellip;” [1] At these words the Duke frowned, and theothers pursed their lips up and looked with knitted grows toward him.The horrible affront half maddened me with fury; but in a moment Irecovered presence of mind enough to turn it off with a jest; “Youmadman! you exceed the bounds of decency. Yet would to God that Iunderstood so noble an art as you allude to; they say that Jove used itwith Ganymede in paradise, and here upon this earth it is practised bysome of the greatest emperors and kings. I, however, am but a poorhumble creature, who neither have the power nor the intelligence toperplex my wits with anything so admirable.” When I had finished thisspeech, the Duke and his attendants could control themselves no longer,but broke into such shouts of laughter that one never heard the like.You must know, gentle readers, that though I put on this appearance ofpleasantry, my heart was bursting in my body to think that a fellow, thefoulest villain who ever breathed, should have dared in the presence ofso great a prince to cast an insult of that atrocious nature in myteeth; but you must also know that he insulted the Duke, and not me; forhad I not stood in that august presence, I should have felled him deadto earth. When the dirty stupid scoundrel observed that those gentlemenkept on laughing, he tried to change the subject, and divert them fromderiding him; so he began as follows: “This fellow Benvenuto goes aboutboasting that I have promised him a piece of marble.” I took him up atonce. “What! did you not send to tell me by your journeyman, Francesco,that if I wished to work in marble you would give me a block? I acceptedit, and mean to have it.” He retorted: “Be very well assured that youwill never get it.” Still smarting as I was under the calumnious insultshe had flung at me, I lost my self-control, forgot I was in the presenceof the Duke, and called out in a storm of fury: “I swear to you that ifyou do not send the marble to my house, you had better look out foranother world, for if you stay upon this earth I will most certainly ripthe wind out of your carcass. [2] Then suddenly awaking to the fact thatI was standing in the presence of so great a duke, I turned submissivelyto his Excellency and said: “My lord, one fool makes a hundred; thefollies of this man have blinded me for a moment to the glory of yourmost illustrious Excellency and to myself. I humbly crave your pardon.”Then the Duke said to Bandinello: “Is it true that you promised him themarble?” He replied that it was true. Upon this the Duke addressed me:“Go to the Opera, and choose a piece according to your taste.” Idemurred that the man had promised to sent it home to me. The words thatpassed between us were awful, and I refused to take the stone in anyother way. Next morning a piece of marble was brought to my house. Onasking who had sent it, they told me it was Bandinello, and that thiswas the very block which he had promised. 3

Note 1. 'Oh sta cheto, soddomitaccio.'

Note 2. 'In questo' ('mondo') 'ti sgonfieró a ogni modo.'

Note 3. Vasari, in his 'Life of Bandinello,' gives a curiousconfirmation of Cellini’s veracity by reporting this quarrel, with someof the speeches which pdssed between the two rival artists. Yet he hadnot read Cellini’s 'Memoirs,' and was far from partial to the man.Comparing Vasari’s with Cellini’s account, we only notice that thelatter has made Bandinello play a less witty part in the wordy strifethan the former assigned him.

LXXII

I HAD it brought at once in to my studio, and began to chisel it. WhileI was rough-hewing the block, I made a model. But my eagerness to workin marble was so strong, that I had not patience to finish the model ascorrectly as this art demands. I soon noticed that the stone rang falsebeneath my strokes, which made me often-times repent commencing on it.Yet I got what I could out of the piece--that is, the Apollo andHyacinth, which may still be seen unfinished in my workshop. While I wasthus engaged, the Duke came to my house, and often said to me: “Leaveyour bronze awhile, and let me watch you working on the marble.” Then Itook chisel and mallet, and went at it blithely. He asked about themodel I had made for my statue; to which I answered: “Duke, this marbleis all cracked, but I shall carve something from it in spite of that;therefore I have not been able to settle the model, but shall go ondoing the best I can.”

His Excellency sent to Rome post-haste for a block of Greek marble, inorder that I might restore his antique Ganymede, which was the cause ofthat dispute with Bandinello. When it arrived, I thought it a sin to cutit up for the head and arms and other bits wanting in the Ganymede; so Iprovided myself with another piece of stone, and reserved the Greekmarble for a Narcissus which I modelled on a small scale in wax. I foundthat the block had two holes, penetrating to the depth of a quarter of acubit, and two good inches wide. This led me to choose the attitudewhich may be noticed in my statue, avoiding the holes and keeping myfigure free from them. But rain had fallen scores of years upon thestone, filtering so deeply from the holes into its substance that themarble was decayed. Of this I had full proof at the time of a greatinundation of the Arno, when the river rose to the height of more than acubit and a half in my workshop. [1] Now the Narcissus stood upon asquare of wood, and the water overturned it, causing the statue to breakin two above the breasts. I had to join the pieces; and in order thatthe line of breakage might not be observed, I wreathed that garland offlowers round it which may still be seen upon the bosom. I went onworking at the surface, employing some hours before sunrise, or now andthen on feast-days, so as not to lose the time I needed for my Perseus.

It so happened on one of those mornings, while I was getting some littlechisels into trim to work on the Narcissus, that a very fine splinter ofsteel flew into my right eye, and embedded itself so deeply in the pupilthat it could not be extracted. I thought for certain I must lose thesight of that eye. After some days I sent for Maestro Raffaello déPilli, the surgeon, who obtained a couple of live pigeons, and placingme upon my back across a table, took the birds and opened a large veinthey have beneath the wing, so that the blood gushed out into my eye. Ifelt immediately relieved, and in the space of two days the splintercame away, and I remained with eyesight greatly improved. Against thefeast of S. Lucia, [2] which came round in three days, I made a goldeneye out of a French crown, and had it presented at her shrine by one ofmy six nieces, daughters of my sister Liperata; the girl was ten yearsof age, and in her company I returned thanks to God and S. Lucia. Forsome while afterwards I did not work at the Narcissus, but pushed myPerseus forward under all the difficulties I have described. It was mypurpose to finish it, and then to bid farewell to Florence.

Note 1. Cellini alludes to a celebrated inundation of the year 1547.

Note 2. S. Lucy, I need hardly remark, is the patroness of the eyes. InItalian art she is generally represented holding her own eyes upon aplate.

LXXIII

HAVING succeeded so well with the cast of the Medusa, I had great hopeof bringing my Perseus through; for I had laid the wax on, and feltconfident that it would come out in bronze as perfectly as the Medusa.The waxen model produced so fine an effect, that when the Duke saw itand was struck with its beauty--whether somebody had persuaded him itcould not be carried out with the same finish in metal, or whether hethought so for himself--he came to visit me more frequently than usual,and on one occasion said: “Benvenuto, this figure cannot succeed inbronze; the laws of art do not admit of it.” These words of hisExcellency stung me so sharply that I answered: “My lord, I know howvery little confidence you have in me; and I believe the reason of thisis that your most illustrious Excellency lends too ready an ear to mycalumniators, or else indeed that you do not understand my art.” Hehardly let me close the sentence when he broke in: “I profess myself aconnoisseur, and understand it very well indeed.” I replied: “Yes, likea prince, not like an artist; for if your Excellency understood my tradeas well as you imagine, you would trust me on the proofs I have alreadygiven. These are, first, the colossal bronze bust of your Excellency,which is now in Elba; [1] secondly, the restoration of the Ganymede inmarble, which offered so many difficulties and cost me so much trouble,that I would rather have made the whole statue new from the beginning;thirdly, the Medusa, cast by me in bronze, here now before yourExcellency’s eyes, the execution of which was a greater triumph ofstrength and skill than any of my predecessors in this fiendish art haveyet achieved. Look you, my lord! I constructed that furnace anew onprinciples quite different from those of other founders; in addition tomany technical improvements and ingenious devices, I supplied it withtwo issues for the metal, because this difficult and twisted figurecould not otherwise have come out perfect. It is only owing to myintelligent insight into means and appliances that the statue turned outas it did; a triumph judged impossible by all the practitioners of thisart. I should like you furthermore to be aware, my lord, for certain,that the sole reason why I succeeded with all those great arduous worksin France under his most admirable Majesty King Francis, was the highcourage which that good monarch put into my heart by the liberalallowances he made me, and the multitude of workpeople he left at mydisposal. I could have as many as I asked for, and employed at timesabove forty, all chosen by myself. These were the causes of my havingthere produced so many masterpieces in so short a space of time. Nowthen, my lord, put trust in me; supply me with the aid I need. I amconfident of being able to complete a work which will delight your soul.But if your Excellency goes on disheartening me, and does not advance methe assistance which is absolutely required, neither I nor any man aliveupon this earth can hope to achieve the slightest thing of value.”

Note 1. At Portoferraio. It came afterwards to Florence.

LXXIV

IT was as much as the Duke could do to stand by and listen to mypleadings. He kept turning first this way and then that; while I, indespair, poor wretched I, was calling up remembrance of the noble stateI held in France, to the great sorrow of my soul. All at once he cried:“Come, tell me, Benvenuto, how is it possible that yonder splendid headof Medusa, so high up there in the grasp of Perseus, should ever comeout perfect?” I replied upon the instant: “Look you now, my lord! Ifyour Excellency possessed that knowledge of the craft which you affirmyou have, you would not fear one moment for the splendid head you speakof. There is good reason, on the other hand, to feel uneasy about thisright foot, so far below and at a distance from the rest.” When he heardthese words, the Duke turned, half in anger, to some gentlemen inwaiting, and exclaimed: “I verily believe that this Benvenuto prideshimself on contradicting everything one says.” Then he faced round to mewith a touch of mockery, upon which his attendants did the like, andbegan to speak as follows: “I will listen patiently to any argument youcan possibly produce in explanation of your statement, which mayconvince me of its probability.” I said in answer: “I will adduce sosound an argument that your Excellency shall perceive the full force ofit.” So I began: “You must know, my lord, that the nature of fire is toascend, and therefore I promise you that Medusa’s head will come outfamously; but since it is not in the nature of fire to descend, and Imust force it downwards six cubits by artificial means, I assure yourExcellency upon this most convincing ground of proof that the footcannot possibly come out. It will, however, be quite easy for me torestore it.” “Why, then,” said the Duke, “did you not devise it so thatthe foot should come out as well as you affirm the head will?” Ianswered: “I must have made a much larger furnace, with a conduit asthick as my leg; and so I might have forced the molten metal by its ownweight to descend so far. Now, my pipe, which runs six cubits to thestatue’s foot, as I have said, is not thicker than two fingers. However,it was not worth the trouble and expense to make a larger; for I shalleasily be able to mend what is lacking. But when my mould is more thanhalf full, as I expect, from this middle point upwards, the fireascending by its natural property, then the heads of Perseus and Medusawill come out admirably; you may be quite sure of it.” After I had thusexpounded these convincing arguments, together with many more of thesame kind, which it would be tedious to set down here, the Duke shookhis head and departed without further ceremony.

LXXV

ABANDONED thus to my own resources, I took new courage, and banished thesad thoughts which kept recurring to my mind, making me often weepbitter tears of repentance for having left France; for though I did soonly to revisit Florence, my sweet birthplace, in order that I mightcharitably succour my six nieces, this good action, as I well perceived,had been the beginning of my great misfortune. Nevertheless, I feltconvinced that when my Perseus was accomplished, all these trials wouldbe turned to high felicity and glorious well-being.

Accordingly I strengthened my heart, and with all the forces of my bodyand my purse, employing what little money still remained to me, I set towork. First I provided myself with several loads of pinewood from theforests of Serristori, in the neighbourhood of Montelupo. While thesewere on their way, I clothed my Perseus with the clay which I hadprepared many months beforehand, in order that it might be dulyseasoned. After making its clay tunic (for that is the term used in thisart) and properly arming it and fencing it with iron girders, I began todraw the wax out by means of a slow fire. This melted and issued throughnumerous air-vents I had made; for the more there are of these, thebetter will the mould fill. When I had finished drawing off the wax, Iconstructed a funnel-shaped furnace all round the model of my Perseus.[1] It was built of bricks, so interlaced, the one above the other, thatnumerous apertures were left for the fire to exhale at. Then I began tolay on wood by degrees, and kept it burning two whole days and nights.At length, when all the wax was gone, and the mould was well baked, Iset to work at digging the pit in which to sink it. This I performedwith scrupulous regard to all the rules of art. When I had finished thatpart of my work, I raised the mould by windlasses and stout ropes to aperpendicular position, and suspending it with the greatest care onecubit above the level of the furnace, so that it hung exactly above themiddle of the pit, I next lowered it gently down into the very bottom ofthe furnace, and had it firmly placed with every possible precaution forits safety. When this delicate operation was accomplished, I began tobank it up with the earth I had excavated; and, ever as the earth grewhigher, I introduced its proper air-vents, which were little tubes ofearthenware, such as folk use for drains and such-like purposes. [2] Atlength, I felt sure that it was admirably fixed, and that the filling-inof the pit and the placing of the air-vents had been properly performed.I also could see that my work people understood my method, whichdiffered very considerably from that of all the other masters in thetrade. Feeling confident, then, that I could rely upon them, I nextturned to my furnace, which I had filled with numerous pigs of copperand other bronze stuff. The pieces were piled according to the laws ofart, that is to say, so resting one upon the other that the flames couldplay freely through them, in order that the metal might heat and liquefythe sooner. At last I called out heartily to set the furnace going. Thelogs of pine were heaped in, and, what with the unctuous resin of thewood and the good draught I had given, my furnace worked so well that Iwas obliged to rush from side to side to keep it going. The labour wasmore than I could stand; yet I forced myself to strain every nerve andmuscle. To increase my anxieties, the workshop took fire, and we wereafraid lest the roof should fall upon our heads; while, from the garden,such a storm of wind and rain kept blowing in, that it perceptiblycooled the furnace.

Battling thus with all these untoward circumstances for several hours,and exerting myself beyond even the measure of my powerful constitution,I could at last bear up no longer, and a sudden fever, [3] of the utmostpossible intensity, attacked me. I felt absolutely obliged to go andfling myself upon my bed. Sorely against my will having to drag myselfaway from the spot, I turned to my assistants, about ten or more in all,what with master-founders, hand-workers, country-fellows, and my ownspecial journeymen, among whom was Bernardino Mannellini of Mugello, myapprentice through several years. To him in particular I spoke: “Look,my dear Bernardino, that you observe the rules which I have taught you;do your best with all despatch, for the metal will soon be fused. Youcannot go wrong; these honest men will get the channels ready; you willeasily be able to drive back the two plugs with this pair of ironcrooks; and I am sure that my mould will fill miraculously. I feel moreill than I ever did in all my life, and verily believe that it will killme before a few hours are over. [4] Thus, with despair at heart, I leftthem, and betook myself to bed.

Note 1. This furnace, called 'manica,' was like a grain-hopper, so thatthe mould could stand upright in it as in a cup. The word 'manica' isthe same as our 'manuch,' an antique form of sleeve.

Note 2. These air-vents, or 'sfiatatoi,' were introduced into the outermould, which Cellini calls the 'tonaca,' or clay tunic laid upon theoriginal model of baked clay and wax. They served the double purpose ofdrawing off the wax, whereby a space was left for the molten bronze toenter, and also of facilitating the penetration of this molten metal byallowing a free escape of air and gas from the outer mould.

Note 3. 'Una febbre efimera.' Lit., 'a fever of one day’s duration.'

Note 4. Some technical terms require explanation in this sentence. The'canali' or channels were sluices for carrying the molten metal from thefurnace into the mould. The 'mandriani,' which I have translated by'iron crooks,' were poles fitted at the end with curved irons, by whichthe openings of the furnace, 'plugs,' or in Italian 'spine,' could bepartially or wholly driven back, so as to the molten metal flow throughthe channels into the mould. When the metal reached the mould, itentered in a red-hot stream between the 'tonaca,' or outside mould, andthe 'anima,' or inner block, filling up exactly the space which hadpreviously been occupied by the wax extracted by a method of slowburning alluded to above. I believe that the process is known as'casting á cire perdue.' The 'forma,' or mould, consisted of two pieces;one hollow ('la tonaca'), which gave shape to the bronze; one solid androunded ('la anima'), which stood at a short interval within the former,and regulated the influx of the metal. See above, p. 354, note.

LXXVI

NO sooner had I got to bed, than I ordered my serving-maids to carryfood and wine for all the men into the workshop; at the same time Icried: “I shall not be alive tomorrow.” They tried to encourage me,arguing that my illness would pass over, since it came from excessivefatigue. In this way I spent two hours battling with the fever, whichsteadily increased, and calling out continually: “I feel that I amdying.” My housekeeper, who was named Mona Fiore da Castel del Rio, avery notable manager and no less warm-hearted, kept chiding me for mydiscouragement; but, on the other hand, she paid me every kind attentionwhich was possible. However, the sight of my physical pain and moraldejection so affected her, that, in spite of that brave heart of hers,she could not refrain from shedding tears; and yet, so far as she wasable, she took good care I should not see them. While I was thusterribly afflicted, I beheld the figure of a man enter my chamber,twisted in his body into the form of a capital S. He raised alamentable, doleful voice, like one who announces their last hour to mencondemned to die upon the scaffold, and spoke these words: “O Benvenuto!your statue is spoiled, and there is no hope whatever of saving it.” Nosooner had I heard the shriek of that wretch than I gave a howl whichmight have been heard from the sphere of flame. Jumping from my bed, Iseized my clothes and began to dress. The maids, and my lads, and everyone who came around to help me, got kicks or blows of the fist, while Ikept crying out in lamentation: “Ah! traitors! enviers! This is an actof treason, done by malice prepense! But I swear by God that I will siftit to the bottom, and before I die will leave such witness to the worldof what I can do as shall make a score of mortals marvel.”

When I had got my clothes on, I strode with soul bent on mischief towardthe workshop; there I beheld the men, whom I had left erewhile in suchhigh spirits, standing stupefied and downcast. I began at once andspoke: “Up with you! Attend to me! Since you have not been able orwilling to obey the directions I gave you, obey me now that I am withyou to conduct my work in person. Let no one contradict me, for in caseslike this we need the aid of hand and hearing, not of advice.” When Ihad uttered these words, a certain Maestro Alessandro Lastricati brokesilence and said: “Look you, Benvenuto, you are going to attempt anenterprise which the laws of art do not sanction, and which cannotsucceed.” I turned upon him with such fury and so full of mischief, thathe and all the rest of them exclaimed with one voice: “On then! Giveorders! We will obey your least commands, so long as life is left inus.” I believe they spoke thus feelingly because they thought I mustfall shortly dead upon the ground. I went immediately to inspect thefurnace, and found that the metal was all curdled; an accident which weexpress by “being caked.” [1] I told two of the hands to cross the road,and fetch from the house of the butcher Capretta a load of youngoak-wood, which had lain dry for above a year; this wood had beenpreviously offered me by Madame Ginevra, wife of the said Capretta. Sosoon as the first armfuls arrived, I began to fill the grate beneath thefurnace. [2] Now oak-wood of that kind heats more powerfully than anyother sort of tree; and for this reason, where a slow fire is wanted, asin the case of gun-foundry, alder or pine is preferred. Accordingly,when the logs took fire, oh! how the cake began to stir beneath thatawful heat, to glow and sparkle in a blaze! At the same time I keptstirring up the channels, and sent men upon the roof to stop theconflagration, which had gathered force from the increased combustion inthe furnace; also I caused boards, carpets, and other hangings to be setup against the garden, in order to protect us from the violence of therain.

Note 1. 'Essersi fatto un migliaccio.'

Note 2. The Italian is 'bracciaiuola,' a pit below the grating, whichreceives the ashes from the furnace.

LXXVII

WHEN I had thus provided against these several disasters, I roared outfirst to one man and then to another: “Bring this thing here! Take thatthing there!” At this crisis, when the whole gang saw the cake was onthe point of melting, they did my bidding, each fellow working with thestrength of three. I then ordered half a pig of pewter to be brought,which weighed about sixty pounds, and flung it into the middle of thecake inside the furnace. By this means, and by piling on wood andstirring now with pokers and now with iron rods, the curdled massrapidly began to liquefy. Then, knowing I had brought the dead to lifeagain, against the firm opinion of those ignoramuses, I felt such vigourfill my veins, that all those pains of fever, all those fears of death,were quite forgotten.

All of a sudden an explosion took place, attended by a tremendous flashof flame, as though a thunderbolt had formed and been discharged amongstus. Unwonted and appalling terror astonished every one, and me more eventhan the rest. When the din was over and the dazzling lightextinguished, we began to look each other in the face. Then I discoveredthat the cap of the furnace had blown up, and the bronze was bubblingover from its source beneath. So I had the mouths of my mouldimmediately opened, and at the same time drove in the two plugs whichkept back the molten metal. But I noticed that it did not flow asrapidly as usual, the reason being probably that the fierce heat of thefire we kindled had consumed its base alloy. Accordingly I sent for allmy pewter platters, porringers, and dishes, to the number of some twohundred pieces, and had a portion of them cast, one by one, into thechannels, the rest into the furnace. This expedient succeeded, and everyone could now perceive that my bronze was in most perfect liquefaction,and my mould was filling; whereupon they all with heartiness and happycheer assisted and obeyed my bidding, while I, now here, now there, gaveorders, helped with my own hands, and cried aloud: “O God! Thou that byThy immeasurable power didst rise from the dead, and in Thy glory didstascend to heaven!”&hellip;. even thus in a moment my mould was filled;and seeing my work finished, I fell upon my knees, and with all my heartgave thanks to God.

After all was over, I turned to a plate of salad on a bench there, andate with hearty appetite, and drank together with the whole crew.Afterwards I retired to bed, healthy and happy, for it was now two hoursbefore morning, and slept as sweetly as though I had never felt a touchof illness. My good housekeeper, without my giving any orders, hadprepared a fat capon for my repast. So that, when I rose, about the hourfor breaking fast, she presented herself with a smiling countenance, andsaid: “Oh! is that the man who felt that he was dying? Upon my word, Ithink the blows and kicks you dealt us last night, when you were soenraged, and had that demon in your body as it seemed, must havefrightened away your mortal fever! The fever feared that it might catchit too, as we did!” All my poor household, relieved in like measure fromanxiety and overwhelming labour, went at once to buy earthen vessels inorder to replace the pewter I had cast away. Then we dined togetherjoyfully; nay, I cannot remember a day in my whole life when I dinedwith greater gladness or a better appetite.

After our meal I received visits from the several men who had assistedme. They exchanged congratulations, and thanked God for our success,saying they had learned and seen things done which other masters judgedimpossible. I too grew somewhat glorious; and deeming I had shown myselfa man of talent, indulged a boastful humour. So I thrust my hand into mypurse, and paid them all to their full satisfaction.

That evil fellow, my mortal foe, Messer Pier Francesco Ricci, majordomoof the Duke, took great pains to find out how the affair had gone. Inanswer to his questions, the two men whom I suspected of having caked mymetal for me, said I was no man, but of a certainty some powerful devil,since I had accomplished what no craft of the art could do; indeed theydid not believe a mere ordinary fiend could work such miracles as I inother ways had shown. They exaggerated the whole affair so much,possibly in order to excuse their own part in it, that the majordomowrote an account to the Duke, who was then in Pisa, far more marvellousand full of thrilling incidents than what they had narrated.

LXXVIII

AFTER I had let my statue cool for two whole days, I began to uncover itby slow degrees. The first thing I found was that the head of Medusa hadcome out most admirably, thanks to the air-vents; for, as I had told theDuke, it is the nature of fire to ascend. Upon advancing farther, Idiscovered that the other head, that, namely, of Perseus, had succeededno less admirably; and this astonished me far more, because it is at aconsiderably lower level than that of the Medusa. Now the mouths of themould were placed above the head of Perseus and behind his shoulders;and I found that all the bronze my furnace contained had been exhaustedin the head of this figure. It was a miracle to observe that not onefragment remained in the orifice of the channel, and that nothing waswanting to the statue. In my great astonishment I seemed to see in thisthe hand of God arranging and controlling all.

I went on uncovering the statue with success, and ascertained thateverything had come out in perfect order, until I reached the foot ofthe right leg on which the statue rests. There the heel itself wasformed, and going farther, I found the foot apparently complete. Thisgave me great joy on the one side, but was half unwelcome to me on theother, merely because I had told the Duke that it could not come out.However, when I reached the end, it appeared that the toes and a littlepiece above them were unfinished, so that about half the foot waswanting. Although I knew that this would add a trifle to my labour, Iwas very well pleased, because I could now prove to the Duke how well Iunderstood my business. It is true that far more of the foot than Iexpected had been perfectly formed; the reason of this was that, fromcauses I have recently described, the bronze was hotter than our rulesof art prescribe; also that I had been obliged to supplement the alloywith my pewter cups and platters, which no one else, I think, had everdone before.

Having now ascertained how successfully my work had been accomplished, Ilost no time in hurrying to Pisa, where I found the Duke. He gave me amost gracious reception, as did also the Duchess; and although themajordomo had informed them of the whole proceedings, their Excellenciesdeemed my performance far more stupendous and astonishing when theyheard the tale from my own mouth. When I arrived at the foot of Perseus,and said it had not come out perfect, just as I previously warned hisExcellency, I saw an expression of wonder pass over his face, while herelated to the Duchess how I had predicted this beforehand. Observingthe princes to be so well disposed towards me, I begged leave from theDuke to go to Rome. He granted it in most obliging terms, and bade mereturn as soon as possible to complete his Perseus; giving me letters ofrecommendation meanwhile to his ambassador, Averardo Serristori. We werethen in the first years of Pope Giulio de Monti. 1

Note 1. Gio Maria del Monte Sansovino was elected Pope, with the titleof Julius III., in February 1550.

LXXIX

BEFORE leaving home, I directed my workpeople to proceed according tothe method I had taught them. The reason of my journey was as follows. Ihad made a life-sized bust in bronze of Bindo Altoviti, [1] the son ofAntonio, and had sent it to him at Rome. He set it up in his study,which was very richly adorned with antiquities and other works of art;but the room was not designed for statues or for paintings, since thewindows were too low, so that the light coming from beneath spoiled theeffect they would have produced under more favourable conditions. Ithappened one day that Bindo was standing at his door, when Michel AgnoloBuonarroti, the sculptor, passed by; so he begged him to come in and seehis study. Michel Agnolo followed, and on entering the room and lookinground, he exclaimed: “Who is the master who made that good portrait ofyou in so fine a manner? You must know that that bust pleases me asmuch, or even more, than those antiques; and yet there are many finethings to be seen among the latter. If those windows were above insteadof beneath, the whole collection would show to greater advantage, andyour portrait, placed among so many masterpieces, would hold its ownwith credit.” No sooner had Michel Agnolo left the house of Bindo thanhe wrote me a very kind letter, which ran as follows: “My dearBenvenuto, I have known you for many years as the greatest goldsmith ofwhom we have any information; and henceforward I shall know you for asculptor of like quality. I must tell you that Master Bindo Altovititook me to see his bust in bronze, and informed me that you had made it.I was greatly pleased with the work; but it annoyed me to notice that itwas placed in a bad light; for if it were suitably illuminated, it wouldshow itself to be the fine performance that it is.” This letter aboundedwith the most affectionate and complimentary expressions towards myself;and before I left for Rome, I showed it to the Duke, who read it withmuch kindly interest, and said to me: “Benvenuto, if you write to him,and can persuade him to return to Florence, I will make him a member ofthe Forty-eight.” [2] Accordingly I wrote a letter full of warmth, andoffered in the Duke’s name a hundred times more than my commissioncarried; but not wanting to make any mistake, I showed this to the Dukebefore I sealed it, saying to his most illustrious Excellency: “Prince,perhaps I have made him too many promises.” He replied: “Michel Agnolodeserves more than you have promised, and I will bestow on him stillgreater favours.” To this letter he sent no answer, and I could see thatthe Duke was much offended with him.

Note 1. This man was a member of a very noble Florentine family. Born in1491, he was at this epoch Tuscan Consul in Rome. Cellini’s bust of himstill exists in the Palazzo Altoviti at Rome.

Note 2. This was one of the three Councils created by Clement VII. in1532, when he changed the Florentine constitution. It corresponded to aSenate.

LXXX

WHEN I reached Rome, I went to lodge in Bindo Altoviti’s house. He toldme at once how he had shown his bronze bust to Michel Agnolo, and howthe latter had praised it. So we spoke for some length upon this topic.I ought to narrate the reasons why I had taken this portrait. Bindo hadin his hands 1200 golden crowns of mine, which formed part of 5000 hehad lent the Duke; 4000 were his own, and mine stood in his name, whileI received that portion of the interest which accrued to me. [1] Thisled to my taking his portrait; and when he saw the wax model for thebust, he sent me fifty golden scudi by a notary in his employ, named SerGiuliano Paccalli. I did not want to take the money, so I sent it backto him by the same hand, saying at a later time to Bindo: “I shall besatisfied if you keep that sum of mine for me at interest, so that I maygain a little on it.” When we came to square accounts on this occasion,I observed that he was ill disposed towards me, since, instead oftreating me affectionately, according to his previous wont, he put on astiff air; and although I was staying in his house, he was nevergood-humoured, but always surly. However, we settled our business in afew words. I sacrificed my pay for his portrait, together with thebronze, and we arranged that he should keep my money at 15 per cent.during my natural life.

Note 1. To make the sum correct, 5200 ought to have been lent the Duke.

LXXXI

ONE of the first things I did was to go and kiss the Pope’s feet; andwhile I was speaking with his Holiness, Messer Averardo Serristori, ourDuke’s Envoy, arrived. [1] I had made some proposals to the Pope, whichI think he would have agreed upon, and I should have been very glad toreturn to Rome on account of the great difficulties which I had atFlorence. But I soon perceived that the ambassador had countermined me.

Then I went to visit Michel Agnolo Buonarroti, and repeated what I hadwritten from Florence to him in the Duke’s name. He replied that he wasengaged upon the fabric of S. Peter’s, and that this would prevent himfrom leaving Rome. I rejoined that, as he had decided on the model ofthat building, he could leave its execution to his man Urbino, who wouldcarry out his orders to the letter. I added much about future favours,in the form of a message from the Duke. Upon this he looked me hard inthe face, and said with a sarcastic smile: “And you! to what extent areyou satisfied with him?” Although I replied that I was extremelycontented and was very well treated by his Excellency, he showed that hewas acquainted with the greater part of my annoyances, and gave as hisfinal answer that it would be difficult for him to leave Rome. To this Iadded that he could not do better than to return to his own land, whichwas governed by a prince renowned for justice, and the greatest lover ofthe arts and sciences who ever saw the light of this world. As I haveremarked above, he had with him a servant of his who came from Urbino,and had lived many years in his employment, rather as valet andhousekeeper than anything else; this indeed was obvious, because he hadacquired no skill in the arts. [2] Consequently, while I was pressingMichel Agnolo with arguments he could not answer, he turned roundsharply to Urbino, as though to ask him his opinion. The fellow began tobawl out in his rustic way: “I will never leave my master MichelAgnolo’s side till I shall have flayed him or he shall have flayed me.”These stupid words forced me to laugh, and without saying farewell, Ilowered my shoulders and retired.

Note 1. His despatches form a valuable series of historical documents.'Firenze,' Le Monnier, 1853.

Note 2. Upon the death of this Urbino, Michel Agnolo wrote a touchingsonnet and a very feeling letter to Vasari.

LXXXII

THE MISERABLE bargain I had made with Bindo Altoviti, losing my bust andleaving him my capital for life, taught me what the faith of merchantsis; so I returned in bad spirits to Florence. I went at once to thepalace to pay my respects to the Duke, whom I found to be at Castellobeyond Ponte a Rifredi. In the palace I met Messer Pier Francesco Ricci,the majordomo, and when I drew nigh to pay him the usual compliments, heexclaimed with measureless astonishment: “Oh, are you come back?” andwith the same air of surprise, clapping his hands together, he cried:“The Duke is at Castello!” then turned his back and left me. I could notform the least idea why the beast behaved in such an extraordinarymanner to me.

Proceeding at once to Castello, and entering the garden where the Dukewas, I caught sight of him at a distance; but no sooner had he seen methan he showed signs of surprise, and intimated that I might go about mybusiness. I had been reckoning that his Excellency would treat me withthe same kindness, or even greater, as before I left for Rome; so now,when he received me with such rudeness. I went back, much hurt, toFlorence. While resuming my work and pushing my statue forward, I rackedmy brains to think what could have brought about this sudden change inthe Duke’s manner. The curious way in which Messer Sforza and some othergentlemen close to his Excellency’s person eyed me, prompted me to askthe former what the matter was. He only replied with a sort of smile:“Benvenuto, do your best to be an honest man, and have no concern foranything else.” A few days afterwards I obtained an audience of theDuke, who received me with a kind of grudging grace, and asked me what Ihad been doing at Rome. To the best of my ability I maintained theconversation, and told him the whole story about Bindo Altoviti’s bust.It was evident that he listened with attention; so I went on talkingabout Michel Agnolo Buonarroti. At this he showed displeasure; butUrbino’s stupid speech about the flaying made him laugh aloud. Then hesaid: “Well, it is he who suffers!” and I took my leave.

There can be no doubt that Ser Pier Francesco, the majordomo, must haveserved me some ill turn with the Duke, which did not, however, succeed;for God, who loves the truth, protected me, as He hath ever saved me,from a sea of dreadful dangers, and I hope will save me till the end ofthis my life, however full of trials it may be. I march forward,therefore, with a good heart, sustained alone by His divine power; norlet myself be terrified by any furious assault of fortune or my adversestars. May only God maintain me in His grace!

LXXXIII

I MUST beg your attention now, most gracious reader, for a very terribleevent which happened.

I used the utmost diligence and industry to complete my statue, and wentto spend my evenings in the Duke’s wardrobe, assisting there thegoldsmiths who were working for his Excellency. Indeed, they labouredmainly on designs which I had given them. Noticing that the Duke tookpleasure in seeing me at work and talking with me, I took it into myhead to go there sometimes also by day. It happened upon one of thosedays that his Excellency came as usual to the room where I was occupied,and more particularly because he heard of my arrival. His Excellencyentered at once into conversation, raising several interesting topics,upon which I gave my views so much to his entertainment that he showedmore cheerfulness than I had ever seen in him before. All of a sudden,one of his secretaries appeared, and whispered something of importancein his ear; whereupon the Duke rose, and retired with the official intoanother chamber. Now the Duchess had sent to see what his Excellency wasdoing, and her page brought back this answer: “The Duke is talking andlaughing with Benvenuto, and is in excellent good-humour.” When theDuchess heard this, she came immediately to the wardrobe, and notfinding the Duke there, took a seat beside us. After watching us at worka while, she turned to me with the utmost graciousness, and showed me anecklace of large and really very fine pearls. On being asked by herwhat I thought of them, I said it was in truth a very handsome ornament.Then she spoke as follows: “I should like the Duke to buy them for me;so I beg you, my dear Benvenuto, to praise them to him as highly as youcan.” At these words I disclosed my mind to the Duchess with all therespect I could, and answered: “My lady, I thought this necklace ofpearls belonged already to your most illus trious Excellency. Now that Iam aware you have not yet acquired them, it is right, nay, more, it ismy duty to utter what I might otherwise have refrained from saying,namely, that my mature professional experience enables me to detect verygrave faults in the pearls, and for this reason I could never adviseyour Excellency to purchase them.” She replied: “The merchant offersthem for six thousand crowns; and were it not for some of those triflingdefects you speak of, the rope would be worth over twelve thousand.” Tothis I replied, that “even were the necklace of quite flawless quality,I could not advise any one to bid up to five thousand crowns for it; forpearls are not gems; pearls are but fishes’ bones, which in the courseof time must lose their freshness. Diamonds, rubies, emeralds, andsapphires, on the contrary, never grow old; these four are preciousstones, and these it is quite right to purchase.” When I had thusspoken, the Duchess showed some signs of irritation, and exclaimed: “Ihave a mind to possess these pearls; so, prithee, take them to the Duke,and praise them up to the skies; even if you have to use some wordsbeyond the bounds of truth, speak them to do me service; it will be wellfor you!”

I have always been the greatest friend of truth and foe of lies: yetcompelled by necessity, unwilling to lose the favour of so great aprincess, I took those confounded pearls sorely against my inclination,and went with them over to the other room, whither the Duke hadwithdrawn. No sooner did he set eyes upon me than he cried: “OBenvenuto! what are you about here?” I uncovered the pearls and said:“My lord, I am come to show you a most splendid necklace of pearls, ofthe rarest quality, and truly worthy of your Excellency; I do notbelieve it would be possible to put together eighty pearls which couldshow better than these do in a necklace. My counsel therefore is, thatyou should buy them, for they are in good sooth miraculous.” Heresponded on the instant: “I do not choose to buy them; they are notpearls of the quality and goodness you affirm; I have seen the necklace,and they do not please me.” Then I added: “Pardon me, prince! Thesepearls exceed in rarity and beauty any which were ever brought togetherfor a necklace.” The Duchess had risen, and was standing behind a doorlistening to all I said. Well, when I had praised the pearls athousandfold more warmly than I have described above, the Duke turnedtowards me with a kindly look, and said. “O my dear Benvenuto, I knowthat you have an excellent judgment in these matters. If the pearls areas rare as you certify, I should not hesitate about their purchase,partly to gratify the Duchess, and partly to possess them, seeing I havealways need of such things, not so much for her Grace, as for thevarious uses of my sons and daughters.” When I heard him speak thus,having once begun to tell fibs, I stuck to them with even greaterboldness; I gave all the colour of truth I could to my lies, confidingin the promise of the Duchess to help me at the time of need. More thantwo hundred crowns were to be my commission on the bargain, and theDuchess had intimated that I should receive so much; but I was firmlyresolved not to touch a farthing, in order to secure my credit, andconvince the Duke I was not prompted by avarice. Once more hisExcellency began to address me with the greatest courtesy: “I know thatyou are consummate judge of these things; therefore, if you are thehonest man I always thought you, tell me now the truth.” Thereat Iflushed up to my eyes, which at the same time filled with tears, andsaid to him: “My lord, if I tell your most illustrious Excellency thetruth, I shall make a mortal foe of the Duchess; this will oblige me todepart from Florence, and my enemies will begin at once to pour contemptupon my Perseus, which I have announced as a masterpiece to the mostnoble school of your illustrious Excellency. Such being the case, Irecommend myself to your most illustrious Excellency.”

LXXXIV

THE DUKE was now aware that all my previous speeches had been, as itwere, forced out of me. So he rejoined: “If you have confidence in me,you need not stand in fear of anything whatever.” I recommenced: “Alas!my lord, what can prevent this coming to the ears of the Duchess?” TheDuke lifted his hand in sign of troth-pledge, [1] and exclaimed: “Beassured that what you say will be buried in a diamond casket!” To thisengagement upon honour I replied by telling the truth according to myjudgment, namely, that the pearls were not worth above two thousandcrowns. The Duchess, thinking we had stopped talking, for we now werespeaking in as low a voice as possible, came forward, and began asfollows: “My lord, do me, the favour to purchase this necklace, becauseI have set my heart on them, and your Benvenuto here has said he neversaw a finer row of pearls.” The Duke replied: “I do not choose to buythem.” “Why, my lord, will not your Excellency gratify me by buyingthem?” “Because I do not care to throw my money out of the window.” TheDuchess recommenced: “What do you mean by throwing your money away, whenBenvenuto, in whom you place such well-merited confidence, has told methat they would be cheap at over three thousand crowns?” Then the Dukesaid; “My lady! my Benvenuto here has told me that, if I purchase thisnecklace, I shall be throwing my money away, inasmuch as the pearls areneither round nor well-matched, and some of them are quite faded. Toprove that this is so, look here! look there! consider this one and thenthat. The necklace is not the sort of thing for me.” At these words theDuchess cast a glance of bitter spite at me, and retired with athreatening nod of her head in my direction. I felt tempted to pack offat once and bid farewell to Italy. Yet my Perseus being all butfinished, I did not like to leave without exposing it to public view.But I ask every one to consider in what a grievous plight I found myself!

The Duke had given orders to his porters in my presence, that if Iappeared at the palace, they should always admit me through hisapartments to the place where he might happen to be. The Duchesscommanded the same men, whenever I showed my face at that palace, todrive me from its gates. Accordingly, no sooner did I present myself,than these fellows left their doors and bade me begone; at the same timethey took good care lest the Duke should perceive what they were after;for if he caught sight of me before those wretches, he either called me,or beckoned to me to advance.

At this juncture the Duchess sent for Bernardone, the broker, of whomshe had so often complained to me, abusing his good-for-nothingness andutter worthlessness. She now confided in him as she had previously donein me. He replied: “My princess, leave the matter in my hands.” Then therascal presented himself before the Duke with that necklace in hishands. No sooner did the Duke set eyes on him than he bade him begone.But the rogue lifted his big ugly voice, which sounded like the brayingof an ass through his huge nose, and spoke to this effect: “Ah! my dearlord, for Heaven’s sake buy this necklace for the poor Duchess, who isdying to have it, and cannot indeed live without it.” The fellow pouredforth so much of this stupid nonsensical stuff that the Duke’s patiencewas exhausted, and he cried: “Oh, get away with you, or blow your chapsout till I smack them!” The knave knew very well what he was after; forif by blowing out his cheeks or singing 'La Bella Frances-china,' [2] hecould bring the Duke to make that purchase, then he gained the goodgrace of the Duchess, and to boot his own commission, which rose to somehundreds of crowns. Consequently he did blow out his chaps. The Dukesmacked them with several hearty boxes, and, in order to get rid of him,struck rather harder than his wont was. The sound blows upon his cheeksnot only reddened them above their natural purple, but also broughttears into his eyes. All the same, while smarting, he began to cry: “Lo!my lord, a faithful servant of his prince, who tries to act rightly, andis willing to put up with any sort of bad treatment, provided only thatpoor lady have her heart’s desire!” The Duke tired of the ribald fellow,either to recompense the cuffs which he had dealt him, or for theDuchess’ sake, whom he was ever most inclined to gratify, cried out:“Get away with you, with God’s curse on you! Go, make the bargain; I amwilling to do what my lady Duchess wishes.”

From this incident we may learn to know how evil Fortune exerts her rageagainst a poor right-minded man, and how the strumpet Luck can help amiserable rascal. I lost the good graces of the Duchess once and forever, and thereby went close to having the Duke’s protection taken fromme. He acquired that thumping fee for his commission, and to boot theirfavour. Thus it will not serve us in this world to be merely men ofhonesty and talent.

Note 1. 'Alzò la fede.'

Note 2. A popular ballad of the time.

LXXXV

ABOUT this time the war of Siena broke out, [1] and the Duke, wishing tofortify Florence, distributed the gates among his architects andsculptors. I received the Prato gate and the little one of Arno, whichis on the way to the mills. The Cavaliere Bandinello got the gate of SanFriano; Pasqualino d’Ancona, the gate at San Pier Gattolini; Giulian diBaccio d’Agnolo, the wood-carver, had the gate of San Giorgio;

Particino, the wood-carver, had the gate of Santo Niccolò; Francesco daSan Gallo, the sculptor, called Il Margolla, got the gate of SantaCroce; and Giovan Battista, surnamed Il Tasso, the gate Pinti. [2] Otherbastions and gates were assigned to divers engineers, whose names I donot recollect, nor indeed am I concerned with them. The Duke, whocertainly was at all times a man of great ability, went round the cityhimself upon a tour of inspection, and when he had made his mind up, hesent for Lattanzio Gorini, one of his paymasters. Now this man was tosome extent an amateur of military architecture; so his Excellencycommissioned him to make designs for the fortifications of the gates,and sent each of us his own gate drawn according to the plan. Afterexamining the plan for mine, and perceiving that it was very incorrectin many details, I took it and went immediately to the Duke. When Itried to point out these defects, the Duke interrupted me and exclaimedwith fury: “Benvenuto, I will give way to you upon the point ofstatuary, but in this art of fortification I choose that you should cedeto me. So carry out the design which I have given you.” To these bravewords I answered as gently as I could, and said: “My lord, your mostillustrious Excellency has taught me something even in my own fine artof statuary, inasmuch as we have always exchanged ideas upon thatsubject; I beg you then to deign to listen to me upon this matter ofyour fortifications, which is far more important than making statues. IfI am permitted to discuss it also with your Excellency, you will bebetter able to teach me how I have to serve you.” This courteous speechof mine induced him to discuss the plans with me; and when I had clearlydemonstrated that they were not conceived on a right method, he said:“Go, then, and make a design yourself, and I will see if it satisfiesme.” Accordingly, I made two designs according to the right principlesfor fortifying those two gates, and took them to him; and when hedistinguished the true from the false system, he exclaimed goodhumouredly: “Go and do it in your own way, for I am content to have itso.” I set to work then with the greatest diligence.

Note 1. In the year 1552, when Piero Strozzi acted as general for theFrench King, Henri II., against the Spaniards. The war ended in thecapitulation of Siena in 1555. In 1557 it was ceded by Philip II. toCosimo de’ Medici.

Note 2. These artists, with the exception of pasqualino, are all knownto us in the conditions described by Cellini. Francesco da San Gallo wasthe son of Giuliano, and nephew of Antonio da San Gallo.

LXXXVI

THERE was on guard at the gate of Prato a certain Lombard captain; hewas a truculent and stalwart fellow, of incredibly coarse speech, whosepresumption matched his utter ignorance. This man began at once to askme what I was about there. I politely exhibited my drawings, and tookinfinite pains to make him understand my purpose. The rude brute keptrolling his head, and turning first to one side and then to the other,shifting himself upon his legs, and twirling his enormous moustachios;then he drew his cap down over his eyes and roared out: “Zounds! deucetake it! I can make nothing of this rigmarole.” At last the animalbecame so tiresome that I said: “Leave it then to me, who do understandit,” and turned my shoulders to go about my business. At this he beganto threaten me with his head, and, setting his left hand on the pommelof his sword, tilted the point up, and exclaimed: “Hullo, my master! youwant perhaps to make me cross blades with you?” I faced round in greatfury, for the man had stirred my blood, and cried out: “It would be lesstrouble to run you through the body than to build the bastion of thisgate.” In an instant we both set hands to our swords, without quitedrawing; for a number of honest folk, citizens of Florence, and othersof them courtiers, came running up. The greater part of them rated thecaptain, telling him that he was in the wrong, that I was a man to givehim back as good as I got, and that if this came to the Duke’s ears, itwould be the worse for him. Accordingly he went off on his own business,and I began with my bastion.

After setting things in order there, I proceeded to the other littlegate of Arno, where I found a captain from Cesena, the most polite,well-mannered man I ever knew in that profession. He had the air of agentle young lady, but at need he could prove himself one of the boldestand bloodiest fighters in the world. This agreeable gentleman observedme so attentively that he made me bashful and self-conscious; and seeingthat he wanted to understand what I was doing, I courteously explainedmy plans. Suffice it to say, that we vied with each other in civilities,which made me do far better with this bastion than with the other.

I had nearly finished the two bastions when an inroad of Piero Strozzi’speople struck such terror into the countryfolk of Prato that they beganto leave it in a body, and all their carts, laden with the householdgoods of each family, came crowding into the city. The number of themwas so enormous, cart jostling with cart, and the confusion was sogreat, that I told the guards to look out lest the same misadventureshould happen at this gate as had occurred at the gates of Turin; for ifwe had once cause to lower the portcullis, it would not be able toperform its functions, but must inevitably stick suspended upon one ofthe waggons. When that big brute of a captain heard these words, hereplied with insults, and I retorted in the same tone. We were on thepoint of coming to a far worse quarrel than before. However, the folkkept us asunder; and when I had finished my bastions, I touched somescore of crowns, which I had not expected, and which were uncommonlywelcome. So I returned with a blithe heart to finish my Perseus.

LXXXVII

DURING those days some antiquities had been discovered in the countryround Arezzo. Among them was the Chimæra, that bronze lion which is tobe seen in the rooms adjacent to the great hall of the palace. [1]Together with the Chimæra a number of little statuettes, likewise inbronze, had been brought to light; they were covered with earth andrust, and each of them lacked either head or hands or feet. The Dukeamused his leisure hours by cleaning up these statuettes himself withcertain little chisels used by goldsmiths. It happened on one occasionthat I had to speak on business to his Excellency; and while we weretalking, he reached me a little hammer, with which I struck the chiselsthe Duke held, and so the figures were disengaged from their earth andrust. In this way we passed several evenings, and then the Dukecommissioned me to restore the statuettes. He took so much pleasure inthese trifles that he made me work by day also, and if I delayed coming,he used to send for me. I very often submitted to his Excellency that ifI left my Perseus in the daytime, several bad consequences would ensue.The first of these, which caused me the greatest anxiety, was that,seeing me spend so long a time upon my statue, the Duke himself mightget disgusted; which indeed did afterwards happen. The other was that Ihad several journeymen who in my absence were up to two kinds ofmischief; first, they spoilt my piece, and then they did as little workas possible. These arguments made his Excellency consent that I shouldonly go to the palace after twenty-four o’clock.

I had now conciliated the affection of his Excellency to such an extent,that every evening when I came to him he treated me with greaterkindness. About this time the new apartments were built toward thelions; [2] the Duke then wishing to be able to retire into a less publicpart of the palace, fitted up for himself a little chamber in these newlodgings, and ordered me approach to it by a private passage. I had topass through his wardrobe, then across the stage of the great hall, andafterwards through certain little dark galleries and cabinets. TheDuchess, however, after a few days, deprived me of this means of accessby having all the doors upon the path I had to traverse locked up. Theconsequence was that every evening when I arrived at the palace, I hadto wait a long while, because the Duchess occupied the cabinets for herpersonal necessities. [3] Her habit of body was unhealthy, and so Inever came without incommoding her. This and other causes made her hatethe very sight of me. However, nothwithstanding great discomforts anddaily annoyances, I persevered in going. The Duke’s orders, meanwhile,were so precise, that no sooner did I knock at those doors, than theywere immediately opened, and I was allowed to pass freely where I chose.The consequence was that occasionally, while walking noiselessly andunexpectedly through the private rooms, I came upon the Duchess at ahighly inconvenient moment. Bursting then into such a furious storm ofrage that I was frightened, she cried out: “When will you ever finishmending up those statuettes? Upon my word, this perpetual going andcoming of yours has grown to be too great a nuisance.” I replied asgently as I could: “My lady and sole mistress, I have no other desirethan to serve you loyally and with the strictest obedience. This work towhich the Duke has put me will last several months; so tell me, mostillustrious Excellency, whether you wish me not to come here any more.In that case I will not come, whoever calls me; nay, should the Dukehimself send for me, I shall reply that I am ill, and by no means will Iintrude again.” To this speech she made answer: “I do not bid you not tocome, nor do I bid you to disobey the Duke; but I repeat that your workseems to me as though it would never be finished.”

Whether the Duke heard something of this encounter, or whatever thecause was, he began again as usual. Toward twenty-four o’clock he sentfor me; and his messenger always spoke to this effect: “Take good care,and do not fail to come, for the Duke is waiting for you.” In this way Icontinued, always with the same inconveniences, to put in an appearanceon several successive evenings. Upon one occasion among others, arrivingin my customary way, the Duke, who had probably been talking with theDuchess about private matters, turned upon me in a furious anger. I wasterrified, and wanted to retire. But he called out: “Come in, friendBenvenuto; go to your affairs; I will rejoin you in a few moments.”While I was passing onward, Don Garzia, then quite a little fellow,plucked me by the cape, and played with me as prettily as such a childcould do. The Duke looked up delighted, and exclaimed: “What pleasantand friendly terms my boys are on with you!”

Note 1. Now in the Uffizzi.

Note 2. Lions from a very early period had always been kept in part ofthe Palazzo Vecchio.

Note 3. 'Alle sue comoditâ.'

LXXXVIII

WHILE I was working at these bagatelles, the Prince, and Don Giovanni,and Don Arnando, and Don Garzia kept always hovering around me, teasingme whenever the Duke’s eyes were turned. [1] I begged them for mercy’ssake to hold their peace. They answered: “That we cannot do.” I toldthem: “What one cannot is required of no one! So have your will! Alongwith you!” At this both Duke and Duchess burst out laughing.

Another evening, after I had finished the small bronze figures which arewrought into the pedestal of Perseus, that is to say, the Jupiter,Mercury, Minerva, and Danæ, with the little Perseus seated at hismother’s feet, I had them carried into the room where I was wont towork, and arranged them in a row, raised somewhat above the line ofvision, so that they produced a magnificent effect. The Duke heard ofthis, and made his entrance sooner than usual. It seems that the personwho informed his Excellency praised them above their merit, using termslike “far superior to the ancients,” and so forth; wherefore the Dukecame talking pleasantly with the Duchess about my doings. I rose at onceand went to meet them. With his fine and truly princely manner hereceived me, lifting his right hand, in which he held as superb apear-graft as could possibly be seen. “Take it, my Benvenuto!” heexclaimed; “plant this pear in your garden.” To these words I repliedwith a delighted gesture: “O my lord, does your most illustriousExcellency really mean that I should plant it in the garden of my house?“Yes,” he said, “in the garden of the house which belongs to you. Haveyou understood me?” I thanked his Excellency, and the Duchess in likemanner, with the best politeness I could use.

After this they both took seats in front of the statues, and for morethan two hours went on talking about nothing but the beauties of thework. The Duchess was wrought up to such an enthusiasm that she criedout: “I do not like to let those exquisite figures be wasted on thepedestal down there in the piazza, where they will run the risk of beinginjured. I would much rather have you fix them in one of my apartments,where they will be preserved with the respect due to their singularartistic qualities.” I opposed this plan with many forcible arguments;but when I saw that she was determined I should not place them on thepedestal where they now stand, I waited till next day, and went to thepalace about twenty-two o’clock. Ascertaining that the Duke and Duchesswere out riding, and having already prepared the pedestal, I had thestatues carried down, and soldered them with lead into their properniches. Oh, when the Duchess knew of this, how angry she was! Had it notbeen for the Duke, who manfully defended me, I should have paid dearlyfor my daring. Her indignation about the pearls, and now again aboutthis matter of the statues, made her so contrive that the Duke abandonedhis amusements in our workshop. Consequently I went there no more, andwas met again with the same obstructions as formerly whenever I wantedto gain access to the palace.

I RETURNED to the Loggia, [1] whither my Perseus had already beenbrought, and went on putting the last touches to my work, under the olddifficulties always; that is to say, lack of money, and a hundreduntoward accidents, the half of which would have cowed a man armed withadamant.

However, I pursued my course as usual; and one morning, after I hadheard mass at San Piero Scheraggio, that brute Bernardone, broker,worthless goldsmith, and by the Duke’s grace purveyor to the mint,passed by me. No sooner had he got outside the church than the dirty piglet fly four cracks which might have been heard from San Miniato. Icried: “Yah! pig, poltroon, donkey! is that the noise your filthytalents make?” and ran off for a cudgel. He took refuge on the instantin the mint; while I stationed myself inside my housedoor, which I leftajar, setting a boy at watch upon the street to warn me when the pigshould leave the mint. After waiting some time, I grew tired, and myheat cooled. Reflecting, then, that blows are not dealt by contract, andthat some disaster might ensue, I resolved to wreak my vengeance byanother method. The incident took place about the feast of our SanGiovanni, one or two days before; so I composed four verses, and stuckthem up in an angle of the church where people go to ease themselves.The verses ran as follows:--

“Here lieth Bernardone, ass and pig,

Spy, broker, thief, in whom Pandora planted

All her worst evils, and from thence transplanted

Into that brute Buaccio’s carcass big.” 2

Both the incident and the verses went the round of the palace, givingthe Duke and Duchess much amusement. But, before the man himself knewwhat I had been up to, crowds of people stopped to read the lines andlaughed immoderately at them. Since they were looking towards the mintand fixing their eyes on Bernardone, his son, Maestro Baccio, takingnotice of their gestures, tore the paper down with fury. The elder bithis thumb, shrieking threats out with that hideous voice of his, whichcomes forth through his nose; indeed he made a brave defiance. 3

Note 1. That is, the Loggia de’ Lanzi, on the great piazza of Florence,where Cellini’s statue still stands.

Note 2. If I understand the obscure lines of the original, Celliniwanted to kill two birds with one stone by this epigram--both Bernardoneand his son Baccio. But by Buaccio he generally means Baccio Bandinelli.

Note 3. To bite the thumb at any one was, as students of our old dramaknow, a sign of challenge or provocation.

XC

WHEN the Duke was informed that the whole of my work for the Perseuscould be exhibited as finished, he came one day to look at it. Hismanner showed clearly that it gave him great satisfaction; butafterwards he turned to some gentlemen attending him and said: “Althoughthis statue seems in our eyes a very fine piece, still it has yet to winthe favour of the people. Therefore, my Benvenuto, before you put thevery last touches on, I should like you, for my sake, to remove a partof the scaffolding on the side of the piazza, some day toward noon, inorder that we may learn what folk think of it. There is no doubt thatwhen it is thrown open to space and light, it will look very differentlyfrom what it does in this enclosure.” I replied with all humility to hisExcellency: “You must know, my lord, that it will make more than twiceas good a show. Oh, how is it that your most illustrious Excellency hasforgotten seeing it in the garden of my house? There, in that largeextent of space, it showed so bravely that Bandinello, coming throughthe garden of the Innocents to look at it, was compelled, in spite ofhis evil and malignant nature, to praise it, he who never praised aughtor any one in all his life! I perceive that your Excellency lends tooready an ear to that fellow.” When I had done speaking, he smiledironically and a little angrily; yet he replied with great kindness: “Dowhat I ask, my Benvenuto, just to please me.”

When the Duke had left, I gave orders to have the screen removed. Yetsome trifles of gold, varnish, and various other little finishings werestill wanting; wherefore I began to murmur and complain indignantly,cursing the unhappy day which brought me to Florence. Too well I knewalready the great and irreparable sacrifice I made when I left France;nor could I discover any reasonable ground for hope that I might prosperin the future with my prince and patron. From the commencement to themiddle and the ending, everything that I had done had been performed tomy great disadvantage. Therefore, it was with deep ill-humour that Idisclosed my statue on the following day.

Now it pleased God that, on the instant of its exposure to view, a shoutof boundless enthusiasm went up in commendation of my work, whichconsoled me not a little. The folk kept on attaching sonnets to theposts of the door, which was protected with a curtain while I gave thelast touches to the statue. I believe that on the same day when I openedit a few hours to the public, more than twenty were nailed up, all ofthem overflowing with the highest panegyrics. Afterwards, when I oncemore shut it off from view, every day brought sonnets, with Latin andGreek verses; for the University of Pisa was then in vacation, and allthe doctors and scholars kept vying with each other who could praise itbest. But what gratified me most, and inspired me with most hope of theDuke’s support, was that the artists, sculptors and painters alike,entered into the same generous competition. I set the highest value onthe eulogies of that excellent painter Jacopo Pontormo, and still moreon those of his able pupil Bronzino, who was not satisfied with merelypublishing his verses, but sent them by his lad Sandrino’s hand to myown house. [1] They spoke so generously of my performance, in that finestyle of his which is most exquisite, that this alone repaid me somewhatfor the pain of my long troubles. So then I closed the screen, and oncemore set myself to finishing my statue.

Note 1. Jacopo Carrucci da Pantormo was now an old man. He died in 1558,aged sixty-five years. Angelo Allori, called Il Bronzino, one of thelast fairly good Florentine painters, won considerable distinction as awriter of burlesque poems. He died in 1571, aged sixty-nine years. Wepossess his sonnets of the perseus.

XCI

THE GREAT compliments which this short inspection of my Perseus hadelicited from the noble school of Florence, though they were well knownto the Duke, did not prevent him from saying: “I am delighted thatBenvenuto has had this trifling satisfaction, which will spur him on tothe desired conclusion with more speed and diligence. Do not, however,let him imagine that, when his Perseus shall be finally exposed to viewfrom all sides, folk in general will be so lavish of their praises. Onthe contrary, I am afraid that all its defects will then be brought hometo him, and more will be detected than the statue really has. So let himarm himself with patience.” These were precisely the words whichBandinello had whispered in the Duke’s ears, citing the works of Andreadel Verrocchio, who made that fine bronze of Christ and S. Thomas on thefront of Orsammichele; at the same time he referred to many otherstatues, and dared even to attack the marvellous David of divine MichelAgnolo Buonarroti, accusing it of only looking well if seen in front;finally, he touched upon the multitude of sarcastic sonnets which werecalled forth by his own Hercules and Cacus, and wound up with abusingthe people of Florence. Now the Duke, who was too much inclined tocredit his assertions, encouraged the fellow to speak thus, and thoughtin his own heart that things would go as he had prophesied, because thatenvious creature Bandinello never ceased insinuating malice. On oneoccasion it happened that the gallows bird Bernardone, the broker, waspresent at these conversations, and in support of Bandinello’scalumnies, he said to the Duke: “You must remember, prince, that statueson a large scale are quite a different dish of soup from little figures.I do not refuse him the credit of being excellent at statuettes inminiature. But you will soon see that he cannot succeed in that othersphere of art.” To these vile suggestions he added many others of allsorts, plying his spy’s office, and piling up a mountain of lies to boot.

XCII

NOW it pleased my glorious Lord and immortal God that at last I broughtthe whole work to completion: and on a certain Thursday morning Iexposed it to the public gaze. [1] Immediately, before the sun was fullyin the heavens, there assembled such a multitude of people that no wordscould describe them. All with one voice contended which should praise itmost. The Duke was stationed at a window low upon the first floor of thepalace, just above the entrance; there, half hidden, he heard everythingthe folk were saying of my statue. After listening through severalhours, he rose so proud and happy in his heart that he turned to hisattendant, Messer Sforza, and exclaimed: “Sforza, go and seek outBenvenuto; tell him from me that he has delighted me far more than Iexpected: say too that I shall reward him in a way which will astonishhim; so bid him be of good courage.”

In due course, Messer Sforza discharged this glorious embassy, whichconsoled me greatly. I passed a happy day, partly because of the Duke’smessage, and also because the folk kept pointing me out as somethingmarvellous and strange. Among the many who did so, were two gentlemen,deputed by the Viceroy of Sicily [2] to our Duke on public business. Nowthese two agreeable persons met me upon the piazza: I had been shownthem in passing, and now they made monstrous haste to catch me up; then,with caps in hand, they uttered an oration so ceremonious, that it wouldhave been excessive for a Pope. I bowed, with every protestation ofhumility. They meanwhile continued loading me with compliments, until atlast I prayed them, for kindness’ sake, to leave the piazza in mycompany, because the folk were stopping and staring at me more than atmy Perseus. In the midst of all these ceremonies, they went so far as topropose that I should come to Sicily, and offered to make terms whichshould content me. They told me how Fra Giovan Agnolo de’ Servi [3] hadconstructed a fountain for them, complete in all parts, and decoratedwith a multitude of figures; but it was not in the same good style theyrecognised in Perseus, and yet they had heaped riches on the man. Iwould not suffer them to finish all their speeches, but answered: “Yougive me much cause for wonder, seeking as you do to make me quit theservice of a prince who is the greatest patron of the arts that everlived; and I too here in my own birthplace, famous as the school ofevery art and science! Oh, if my soul’s desire had been set on lucre, Icould have stayed in France, with that great monarch Francis, who gaveme a thousand golden crowns a year for board, and paid me in additionthe price of all my labour. In his service I gained more than fourthousand golden crowns the year.”

With these and such like words I cut their ceremonies short, thankingthem for the high praises they had bestowed upon me, which were indeedthe best reward that artists could receive for their labours. I toldthem they had greatly stimulated my zeal, so that I hoped, after a fewyears were passed, to exhibit another masterpiece, which I dared believewould yield far truer satisfaction to our noble school of Florence. Thetwo gentlemen were eager to resume the thread of their complimentaryproposals, whereupon I, lifting my cap and making a profound bow, badethem a polite farewell.

Note 1. April 27, 1554.

Note 2. Don Juan de Vega.

Note 3. Giovanni Angelo Montorsoli entered the Order of the Servites in1530. This did not prevent him from plying his profession of sculptor.The work above alluded to is the fountain at Messina.

XCIII

WHEN two more days had passed, and the chorus of praise was ever on theincrease, I resolved to go and present myself to the Duke, who said withgreat good-humour: “My Benvenuto, you have satisfied and delighted me;but I promise that I will reward you in such wise as will make youwonder; and I tell you that I do not mean to delay beyond to-morrow.” Onhearing this most welcome assurance, I turned all the forces of my souland body to God, fervently offering up thanks to Him. At the same momentI approached the Duke, and almost weeping for gladness, kissed his robe.Then I added: “O my glorious prince, true and most generous lover of thearts, and of those who exercise them! I entreat your most illustriousExcellency to allow me eight days first to go and return thanks to God;for I alone know what travail I have endured, and that my earnest faithhas moved Him to assist me. In gratitude for this and all othermarvellous mercies, I should like to travel eight days on pilgrimage,continually thanking my immortal God, who never fails to help those whocall upon Him with sincerity.” The Duke then asked me where I wished togo. I answered: “To-morrow I shall set out for Vallombrosa, thence toCamaldoli and the Ermo, afterwards I shall proceed to the Bagni di SantaMaria, and perhaps so far as Sestile, because I hear of fine antiquitiesto be seen there. [1] Then I shall retrace my steps by San Francescodella Vernia, and, still with thanks to God, return light-hearted toyour service.” The Duke replied at once with cheerful kindness: “Go andcome back again, for of a truth you please me; but do not forget to senda couple of lines by way of memorandum, and leave the rest to me.”

I wrote four lines that very day, in which I thanked his Excellency forexpected favours, and gave these to Messer Sforza, who placed them inthe Duke’s hands. The latter took them, and then handed them to MesserSforza, remarking: “See that you put these lines each day where I cansee them; for if Benvenuto comes back and finds I have not despatchedhis business, I think that he will murder me.” Thus laughing, hisExcellency asked to be reminded. Messer Sforza reported these precisewords to me on the same evening, laughing too and expressing wonder atthe great favour shown me by the Duke. He pleasantly added: “Go,Benvenuto, and come again quickly, for indeed I am jealous of you.”

Note 1. The Ermo is more correctly Eremo, and Vernia is Alvernia.

XCIV

IN God’s name then I left Florence, continually singing psalms andprayers in His honour upon all that journey. I enjoyed it extremely; forthe season was fine, in early summer, and the country through which Itravelled, and which I had never seen before, struck me as marvellouslybeautiful. Now I had taken with me to serve as guide a young workman inmy employ, who came from Bagno, and was called Cesare. Thanks to him,then, I received the kindest hospitality from his father and all hisfamily, among whom was an old man of more than seventy, extremelypleasant in his conversation. He was Cesare’s uncle, a surgeon byprofession, and a dabbler in alchemy. This excellent person made meobserve that the Bagni contained mines of gold and silver, and showed memany interesting objects in the neighbourhood; so that I enjoyed myselfas much as I have ever done.

One day, when we had become intimate and he could trust me, he spoke asfollows: “I must not omit to tell you a thought of mine, to which hisExcellency might with advantage pay attention. It is, that not far fromCamaldoli there lies a mountain pass so ill defended, that Piero Strozzicould not only cross it without risk, but might also seize on Poppi [1]unmolested.” Not satisfied with this description, he also took a sheetof paper from his pouch, upon which the good old man had drawn the wholecountry, so that the seriousness of the danger could be manifest uponinspection of the map. I took the design and left Bagno at once,travelling homeward as fast as I could by Prato Magno and San Francescodella Vernia. On reaching Florence, I only stopped to draw off myriding-boots, and hurried to the palace. Just opposite the Badia I metthe Duke, who was coming by the palace of the Podesta. When he saw me hegave me a very gracious reception, and showing some surprise, exclaimed:“Why have you come back so quickly; I did not expect you for eight daysat least.” I answered: “The service of your most illustrious Excellencybrings me back, else I should very willingly have stayed some few dayslonger on my journey through that lovely country.” “Well, and what goodnews have you?” said he. I answered: “Prince, I must talk to you aboutthings of the greatest importance which I have to disclose.” So Ifollowed him to the palace, and when we were there, he took me privatelyinto a chamber where we stayed a while alone together. I then unfoldedthe whole matter and showed him the little map, with which he seemed tobe much gratified. When I told his Excellency that one ought to takemeasures at once, he reflected for a little while and then said: “I mayinform you that we have agreed with the Duke of Urbino that he shouldguard the pass; but do not speak about it.” Then he dismissed me withgreat demonstrations of good-will, and I went home.

Note 1. A village in the Castenino. Piero Strozzi was at this time inValdichiana.

XCV

NEXT day I presented myself, and, after a few words of conversation, theDuke addressed me cheerfully; “To-morrow, without fail, I mean todespatch your business; set your mind at rest, then.” I, who felt surethat he meant what he said, waited with great impatience for the morrow.When the longed-for day arrived, I betook me to the palace; and as italways happens that evil tidings travel faster than good news, MesserGiacopo Guidi, [1] secretary to his Excellency, called me with his wrymouth and haughty voice; drawing himself up as stiff as a poker, hebegan to speak to this effect: “The Duke says he wants you to tell himhow much you ask for your Perseus.” I remained dumbfounded andastonished; yet I quickly replied that it was not my custom to putprices on my work, and that this was not what his Excellency hadpromised me two days ago. The man raised his voice, and ordered meexpressly in the Duke’s name, under the penalty of his severedispleasure, to say how much I wanted. Now I had hoped not only to gainsome handsome reward, trusting to the mighty signs of kindness shown meby the Duke, but I had still more expected to secure the entire goodgraces of his Excellency, seeing I never asked for anything, but onlyfor his favour. Accordingly, this wholly unexpected way of dealing withme put me in a fury, and I was especially enraged by the manner whichthat venomous toad assumed in discharging his commission. I exclaimedthat if the Duke gave me ten thousand crowns I should not be paidenough, and that if I had ever thought things would come to thishaggling, I should not have settled in his service. Thereupon the surlyfellow began to abuse me, and I gave it him back again.

Upon the following day, when I paid my respects to the Duke, he beckonedto me. I approached, and he exclaimed in anger: “Cities and greatpalaces are built with ten thousands of ducats.” I rejoined: “YourExcellency can find multitudes of men who are able to build you citiesand palaces, but you will not, perhaps, find one man in the world whocould make a second Perseus.” Then I took my leave without saying ordoing anything farther. A few days afterwards the Duchess sent for me,and advised me to put my difference with the Duke into her hands, sinceshe thought she could conduct the business to my satisfaction. Onhearing these kindly words I replied that I had never asked any otherrecompense for my labours than the good graces of the Duke, and that hismost illustrious Excellency had assured me of this; it was not needfulthat I should place in their Excellencies’ hands what I had alwaysfrankly left to them from the first days when I undertook their service.I farther added that if his most illustrious Excellency gave me but a'crazia,' [2] which is worth five farthings, for my work, I shouldconsider myself contented, provided only that his Excellency did notdeprive me of his favour. At these words the Duchess smiled a little andsaid: “Benvenuto, you would do well to act as I advise you.” Then sheturned her back and left me. I thought it was my best policy to speakwith the humility I have above described; yet it turned out that I haddone the worst for myself, because, albeit she had harboured some angryfeelings toward me, she had in her a certain way of dealing which wasgenerous.

Note 1. It appears from a letter written by Guidi to Bandinelli that hehated Cellini, whom he called 'pessimo mostro di natura.' Guidi was madeBishop of Penna in 1561, and attended the Council of Trent.

Note 2. A small Tuscan coin.

XCVI

ABOUT that time I was very intimate with Girolamo degli Albizzi, [1]commissary of the Duke’s militia. One day this friend said to me: “OBenvenuto, it would not be a bad thing to put your little difference ofopinion with the Duke to rights; and I assure you that if you reposeconfidence in me, I feel myself the man to settle matters. I know what Iam saying. The Duke is getting really angry, and you will come badly outof the affair. Let this suffice; I am not at liberty to say all I know.”Now, subsequently to that conversation with the Duchess, I had been toldby some one, possibly a rogue, that he had heard how the Duke said uponsome occasion which offered itself: “For less than two farthings I willthrow Perseus to the dogs, and so our differences will be ended.” This,then, made me anxious, and induced me to entrust Girolamo degli Albizziwith the negotiations, telling him anything would satisfy me provided Iretained the good graces of the Duke. That honest fellow was excellentin all his dealings with soldiers, especially with the militia, who arefor the most part rustics; but he had no taste for statuary, andtherefore could not understand its conditions. Consequently, when hespoke to the Duke, he began thus: “Prince, Benvenuto has placed himselfin my hands, and has begged me to recommend him to your Excellency.” TheDuke replied: “I too am willing to refer myself to you, and shall besatisfied with your decision.” Thereupon Girolamo composed a letter,with much skill and greatly to my honour, fixing the sum which the Dukewould have to pay me at 3500 golden crowns in gold; and this should notbe taken as my proper recompense for such a masterpiece, but only as akind of gratuity; enough to say that I was satisfied; with many otherphrases of like tenor, all of which implied the price which I havementioned.

The Duke signed this agreement as gladly as I took it sadly. When theDuchess heard, she said: “It would have been better for that poor man ifhe had placed himself in my hands; I could have got him five thousandcrowns in gold.” One day, when I went to the palace, she repeated thesesame words to me in the presence of Messer Alamanno Salviati, [2] andlaughed at me a little, saying that I deserved my bad luck.

The Duke gave orders that I should be paid a hundred golden crowns ingold per month, until the sum was discharged; and thus it ran for somemonths. Afterwards, Messer Antonio de’ Nobili, who had to transact thebusiness, began to give me fifty, and sometimes later on he gave metwenty-five, and sometimes nothing. Accordingly, when I saw that thesettlement was being thus deferred, I spoke good-humouredly to MesserAntonio, and begged him to explain why he did not complete my payments.He answered in a like tone of politeness; yet it struck me that heexposed his own mind too much. Let the reader judge. He began by sayingthat the sole reason why he could not go forward regularly with thesepayments, was the scarcity of money at the palace; but he promised, whencash came in, to discharge arrears. Then he added: “Oh heavens! if I didnot pay you, I should be an utter rogue.” I was somewhat surprised tohear him speak in that way; yet I resolved to hope that he would pay mewhen he had the power to do so. But when I observed that things wentquite the contrary way, and saw that I was being pillaged, I lost temperwith the man, and recalled to his memory hotly and in anger what he haddeclared he would be if he did not pay me. However, he died; and fivehundred crowns are still owing to me at the present date, which is nighupon the end of 1566. [3] There was also a balance due upon my salarywhich I thought would be forgotten, since three years had elapsedwithout payment. But it so happened that the Duke fell ill of a seriousmalady, remaining forty-eight hours without passing water. Finding thatthe remedies of his physicians availed nothing, it is probable that hebetook himself to God, and therefore decreed the discharge of all debtsto his servants. I too was paid on this occasion, yet I never obtainedwhat still stood out upon my Perseus.

Note 1. A warm partisan of the Medici. He was a cousin of MariaSalviati, Cosimo’s mother. It was rumoured that he caused the historianFrancesco Guicciardini’s death by poison. We find him godfather to oneof Cellini’s children.

Note 2. This Salviati and the De’ Nobili mentioned afterwards occupied adistinguished place in Florentine annals as partisans of the Medici.

Note 3. Cellini began to write his 'Memoirs' in 1558. Eight years hadtherefore now elapsed.

XCVII

I HAD almost determined to say nothing more about that unlucky Perseus;but a most remarkable incident, which I do not like to omit, obliges meto do so; wherefore I must now turn back a bit, to gather up the threadof my narration. I thought I was acting for the best when I told theDuchess that I could not compromise affairs which were no longer in myhands, seeing I had informed the Duke that I should gladly acceptwhatever he chose to give me. I said this in the hope of gaining favour;and with this manifestation of submissiveness I employed every likelymeans of pacifying his resentment; for I ought to add that a few daysbefore he came to terms with Albizzi, the Duke had shown he wasexcessively displeased with me. The reason was as follows: I complainedof some abominable acts of injustice done to me by Messer AlfonsoQuistelli, Messer Jacopo Polverino of the Exchequer, and more than allby Ser Giovanbattista Brandini of Volterra. When, therefore, I set forthmy cause with some vehemence, the Duke flew into the greatest rageconceivable. Being thus in anger, he exclaimed: “This is just the sameas with your Perseus, when you asked those ten thousand crowns. You letyourself be blinded by mere cupidity. Therefore I shall have the statuevalued, and shall give you what the experts think it worth.” To thesewords I replied with too much daring and a touch of indignation, whichis always out of place in dealing with great princes: “How is itpossible that my work should be valued at its proper worth when there isnot a man in Florence capable of performing it?” That increased hisirritation; he uttered many furious phrases, and among them said: “Thereis in Florence at this day a man well able to make such a statue, andwho is therefore highly capable of judging it.” He meant Bandinello,Cavaliere of S. Jacopo. [1] Then I rejoined: “My lord, your mostillustrious Excellency gave me the means of producing an important andvery difficult masterpiece in the midst of this the noblest school ofthe world; and my work has been received with warmer praises than anyother heretofore exposed before the gaze of our incomparable masters. Mychief pride is the commendation of those able men who both understandand practise the arts of design--as in particular Bronzino, the painter;this man set himself to work, and composed four sonnets couched in thechoicest style, and full of honour to myself. Perhaps it was his examplewhich moved the whole city to such a tumult of enthusiasm. I freelyadmit that if sculpture were his business instead of painting, thenBronzino might have been equal a to task like mine. Michel AgnoloBuonarroti, again, whom I am proud to call my master; he, I admit, couldhave achieved the same success when he was young, but not with lessfatigue and trouble than I endured. But now that he is far advanced inyears, he would most certainly be found unequal to the strain. ThereforeI think I am justified in saying that no man known upon this earth couldhave produced my Perseus. For the rest, my work has received thegreatest reward I could have wished for in this world; chiefly andespecially because your most illustrious Excellency not only expressedyourself satisfied, but praised it far more highly than any one beside.What greater and more honourable prize could be desired by me? I affirmmost emphatically that your Excellency could not pay me with moreglorious coin, nor add from any treasury a wealth surpassing this.Therefore I hold myself overpaid already, and return thanks to your mostillustrious Excellency with all my heart.” The Duke made answer:“Probably you think I have not the money to pay you. For my part, Ipromise you that I shall pay you more for the statue than it is worth.”Then I retorted: “I did not picture to my fancy any better recompensefrom your Excellency; yet I account myself amply remunerated by thatfirst reward which the school of Florence gave me. With this to consoleme, I shall take my departure on the instant, without returning to thehouse you gave me, and shall never seek to set my foot in this townagain.” We were just at S. Felicita, and his Excellency was proceedingto the palace. When he heard these choleric words, he turned upon me instern anger and exclaimed: “You shall not go; take heed you do not go!”Half terrified, I then followed him to the palace.

On arriving there, his Excellency sent for the Archbishop of Pisa, namedDe, Bartolini, and Messer Pandolfo della Stufa, [2] requesting them toorder Baccio Bandinelli, in his name, to examine well my Perseus andvalue it, since he wished to pay its exact price. These excellent menwent forthwith and performed their embassy. In reply Bandinello saidthat he had examined the statue minutely, and knew well enough what itwas worth; but having been on bad terms otherwise with me for some timepast, he did not care to be entangled anyhow in my affairs. Then theybegan to put a gentle pressure on him, saying: “The Duke ordered us totell you, under pain of his displeasure, that you are to value thestatue, and you may have two or three days to consider your estimate.When you have done so, tell us at what price it ought to be paid.” Heanswered that his judgment was already formed, that he could not disobeythe Duke, and that my work was rich and beautiful and excellent inexecution; therefore he thought sixteen thousand crowns or more wouldnot be an excessive price for it. Those good and courteous gentlemenreported this to the Duke, who was mightily enraged; they also told thesame to me. I replied that nothing in the world would induce me to takepraise from Bandinello, “seeing that this bad man speaks ill ofeverybody.” My words were carried to the Duke; and that was the reasonwhy the Duchess wanted me to place the matter in her hands. All that Ihave written is the pure truth. I will only add that I ought to havetrusted to her intervention, for then I should have been quickly paid,and should have received so much more into the bargain.

Note 1. Bandinelli was a Knight of S. James of Compostella.

Note 2. Onofrio de’ Bartolini was made Archbishop of Pisa in 1518, atthe age of about seventeen. He was a devoted adherent of the Medici. Hewas shut up with Clement in S. Angelo, and sent as hostage to theImperial army. Pandolfo della Stufa had been cup-bearer to Caterina de’Medici while Dauphinéss.

XCVIII

THE DUKE sent me word by Messer Lelio Torello, [1] his Master of theRolls, [2] that he wanted me to execute some bas-reliefs in bronze forthe choir of S. Maria del Fiore. Now the choir was by Bandinello, and Idid not choose to enrich his bad work with my labours. He had not indeeddesigned it, for he understood nothing whatever about architecture; thedesign was given by Giuliano, the son of that Baccio d’Agnolo, thewood-carver, who spoiled the cupola. [3] Suffice it to say that it showsno talent. For both reasons I was determined not to undertake the task,although I told the Duke politely that I would do whatever his mostillustrious Excellency ordered. Accordingly, he put the matter into thehands of the Board of Works for S. Maria del Fiore, [4] telling them tocome to an agreement with me; he would continue my allowance of twohundred crowns a year, while they were to supply the rest out of theirfunds.

In due course I came before the Board, and they told me what the Dukehad arranged. Feeling that I could explain my views more frankly tothese gentlemen, I began by demonstrating that so many histories inbronze would cost a vast amount of money, which would be totally thrownaway, giving all my reasons, which they fully appreciated. In the firstplace, I said that the construction of the choir was altogetherincorrect, without proportion, art, convenience, grace, or good design.In the next place, the bas-reliefs would have to stand too low, beneaththe proper line of vision; they would become a place for dogs to pissat, and be always full of ordure. Consequently, I declined positively toexecute them. However, since I did not wish to throw away the best yearsof my life, and was eager to serve his most illustrious Excellency, whomI had the sincerest desire to gratify and obey, I made the followingproposal. Let the Duke, if he wants to employ my talents, give me themiddle door of the cathedral to perform in bronze. This would be wellseen, and would confer far more glory on his most illustriousExcellency. I would bind myself by contract to receive no remunerationunless I produced something better than the finest of the Baptisterydoors. [5] But if I completed it according to my promise, then I waswilling to have it valued, and to be paid one thousand crowns less thanthe estimate made by experts.

The members of the Board were well pleased with this suggestion, andwent at once to report the matter to the Duke, among them being PieroSalviati. They expected him to be extremely gratified with theircommunication, but it turned out just the contrary. He replied that Iwas always wanting to do the exact opposite of what he bade me; and soPiero left him without coming to any conclusion. On hearing this, I wentoff to the Duke at once, who displayed some irritation when he saw me.However, I begged him to condescend to hear me, and he replied that hewas willing. I then began from the beginning, and used such convincingarguments that he saw at last how the matter really stood, since I madeit evident that he would only be throwing a large sum of money away.Then I softened his temper by suggesting that if his most illustriousExcellency did not care to have the door begun, two pulpits had anyhowto be made for the choir, and that these would both of them beconsiderable works, which would confer glory on his reign; for my part,I was ready to execute a great number of bronze bas-reliefs withappropriate decorations. In this way I brought him round, and he gave meorders to construct the models.

Accordingly I set at work on several models, and bestowed immense painson them. Among these there was one with eight panels, carried out withfar more science than the rest, and which seemed to me more fitted forthe purpose. Having taken them several times to the place, hisExcellency sent word by Messer Cesare, the keeper of his wardrobe, thatI should leave them there. After the Duke had inspected them, Iperceived that he had selected the least beautiful. One day he sent forme, and during our conversation about the models, I gave many reasonswhy the octagonal pulpit would be far more convenient for its destineduses, and would produce a much finer effect. He answered that he wishedme to make it square, because he liked that form better; and thus hewent on conversing for some time very pleasantly. I meanwhile lost noopportunity of saying everything I could in the interests of art. Nowwhether the Duke knew that I had spoken the truth, or whether he wantedto have his own way, a long time passed before I heard anything moreabout it.

Note 1. A native of Fano. Cosimo’s Auditore, 1539; first Secretary orGrand Chancellor, 1546. He was a great jurist.

Note 2. 'Suo auditore.'

Note 3. It was Baccio d’Agnolo who altered Brunelleschi’s plan for thecupola. Buonarroti used to say that he made it look like a cage forcrickets. His work remained unfinished.

Note 4. 'Operai di S. Maria del Fiore.'

Note 5. He means Ghiberti’s second door, in all probability.

XCIX

ABOUT this time the great block of marble arrived which was intended forthe Neptune. It had been brought up the Arno, and then by the Grieve [1]to the road at Poggio a Caiano, in order to be carried to Florence bythat level way; and there I went to see it. Now I knew very well thatthe Duchess by her special influence had managed to have it given toBandinello. No envy prompted me to dispute his claims, but rather pityfor that poor unfortunate piece of marble. Observe, by the way, thateverything, whatever it may be, which is subject to an evil destiny,although one tries to save it from some manifest evil, falls at onceinto far worse plight; as happened to this marble when it came into thehands of Bartolommeo Ammanato, [2] of whom I shall speak the truth inits proper place. After inspecting this most splendid block, I measuredit in every direction, and on returning to Florence, made several littlemodels suited to its proportions. Then I went to Poggio a Caiano, wherethe Duke and Duchess were staying, with their son the Prince. I foundthem all at table, the Duke and Duchess dining in a private apartment;so I entered into conversation with the Prince. We had been speaking fora long while, when the Duke, who was in a room adjacent, heard my voice,and condescended very graciously to send for me. When I presented myselfbefore their Excellencies, the Duchess addressed me in a very pleasanttone; and having thus opened the conversation, I gradually introducedthe subject of that noble block of marble I had seen. I then proceededto remark that their ancestors had brought the magnificent school ofFlorence to such a pitch of excellence only by stimulating competitionamong artists in their several branches. It was thus that the wonderfulcupola and the lovely doors of San Giovanni had been produced, togetherwith those multitudes of handsome edifices and statues which made acrown of artistic glory for their city above anything the world had seensince the days of the ancients. Upon this the Duchess, with some anger,observed that she very well knew what I meant, and bade me never mentionthat block of marble in her presence, since she did not like it. Ireplied: “So, then, you do not like me to act as the attorney of yourExcellencies, and to do my utmost to ensure your being better served?Reflect upon it, my lady; if your most illustrious Excellencies thinkfit to open the model for a Neptune to competition, although you areresolved to give it to Bandinello, this will urge Bandinello for his owncredit to display greater art and science than if he knew he had norivals. In this way, my princes, you will be far better served, and willnot discourage our school of artists; you will be able to perceive whichof us is eager to excel in the grand style of our noble calling, andwill show yourselves princes who enjoy and understand the fine arts.”The Duchess, in a great rage, told me that I tired her patience out; shewanted the marble for Bandinello, adding: “Ask the Duke; for hisExcellency also means Bandinello to have it.” When the Duchess hadspoken, the Duke, who had kept silence up to this time, said: “Twentyyears ago I had that fine block quarried especially for Bandinello, andso I mean that Bandinello shall have it to do what he likes with it.” Iturned to the Duke and spoke as follows: “My lord, I entreat your mostillustrious Excellency to lend a patient hearing while I speak fourwords in your service.” He told me to say all I wanted, and that hewould listen. Then I began: “You will remember, my lord, that the marblewhich Bandinello used for his Hercules and Cacus was quarried for ourincomparable Michel Agnolo Buonarroti. He had made the model for aSamson with four figures, which would have been the finest masterpiecein the whole world; but your Bandinello got out of it only two figures,both ill-executed and bungled in the worst manner; wherefore our schoolstill exclaims against the great wrong which was done to thatmagnificent block. I believe that more than a thousand sonnets were putup in abuse of that detestable performance; and I know that your mostillustrious Excellency remembers the fact very well. Therefore, mypowerful prince, seeing how the men to whose care that work wasentrusted, in their want of taste and wisdom, took Michel Agnolo’smarble away from him, and gave it to Bandinello, who spoilt it in theway the whole world knows, oh! will you suffer this far more splendidblock, although it belongs to Bandinello, to remain in the hands of thatman who cannot help mangling it, instead of giving it to some artist oftalent capable of doing it full justice? Arrange, my lord, that everyone who likes shall make a model; have them all exhibited to the school;you then will hear what the school thinks; your own good judgment willenable you to select the best; in this way, finally, you will not throwaway your money, nor discourage a band of artists the like of whom isnot to be found at present in the world, and who form the glory of yourmost illustrious Excellency.”

The Duke listened with the utmost graciousness; then he rose from table,and turning to me, said: “Go, my Benvenuto, make a model, and earn thatfine marble for yourself; for what you say is the truth, and Iacknowledge it.” The Duchess tossed her head defiantly, and muttered Iknow not what angry sentences.

I made them a respectful bow and returned to Florence, burning witheagerness to set hands upon my model.

Note 1. Instead of the Grieve, which is not a navigable stream, itappears that Cellini ought to have written the Ombrone.

Note 2. This sculptor was born in 1511, and died in 1592. He workedunder Bandinelli and Sansovino.

C

WHEN the Duke came to Florence, he sought me at my house without givingme previous notice. I showed him two little models of different design.Though he praised them both, he said that one of them pleased him betterthan the other; I was to finish the one he liked with care; and thiswould be to my advantage. Now his Excellency had already seenBandinello’s designs, and those of other sculptors; but, as I wasinformed by many of his courtiers who had heard him, he commended minefar above the rest. Among other matters worthy of record and of greatweight upon this point, I will mention the following. The Cardinal ofSanta Fiore was on a visit to Florence, and the Duke took him to Poggioa Caiano. Upon the road, noticing the marble as he passed, the Cardinalpraised it highly, inquiring of his Excellency for what sculptor heintended it. The Duke replied at once: “For my friend Benvenuto, who hasmade a splendid model with a view to it.” This was reported to me by menwhom I could trust.

Hearing what the Duke had said, I went to the Duchess, and took her somesmall bits of goldsmith’s work, which greatly pleased her Excellency.Then she asked what I was doing, and I replied: “My lady, I have takenin hand for my pleasure one of the most laborious pieces which have everbeen produced. It is a Christ of the whitest marble set upon a cross ofthe blackest, exactly of the same size as a tall man. She immediatelyinquired what I meant to do with it. I answered: “You must know my lady,that I would not sell it for two thousand golden ducats; it is of suchdifficult execution that I think no man ever attempted the like before;nor would I have undertaken it at the commission of any prince whatever,for fear I might prove inadequate to the task. I bought the marbles withmy own money, and have kept a young man some two years as my assistantin the work. What with the stone, the iron frame to hold it up, and thewages, it has cost me above three hundred crowns. Consequently, I wouldnot sell it for two thousand. But if your Excellency deigns to grant mea favour which is wholly blameless, I shall be delighted to make you apresent of it. All I ask is that your Excellency will not use yourinfluence either against or for the models which the Duke has ordered tobe made of the Neptune for that great block of marble.” She replied withmighty indignation: “So then you value neither my help nor myopposition?” “On the contrary, I value them highly, princess; or why amI offering to give you what I value at two thousand ducats? But I havesuch confidence in my laborious and well-trained studies, that I hope towin the palm, even against the great Michel Agnolo Buonarroti, from whomand from no one else I have learned all that I know. Indeed, I should bemuch better pleased to enter into competition with him who knows so muchthan with those others who know but little of their art. Contending withmy sublime master, I could gain laurels in plenty, whereas there are butfew to be reaped in a contest with these men.” After I had spoken, sherose in a half-angry mood, and I returned to work with all the strengthI had upon my model.

When it was finished, the Duke came to see it, bringing with him twoambassadors, one from the Duke of Ferrara, the other from the Signory ofLucca. They were delighted, and the Duke said to those two gentlemen:“Upon my word, Benvenuto deserves to have the marble.” Then they bothpaid me the highest compliments, especially the envoy from Lucca, whowas a person of accomplishments and learning. [1] I had retired to somedistance in order that they might exchange opinions freely; but when Iheard that I was being complimented, I came up, turned to the Duke, andsaid: “My lord, your most illustrious Excellency ought now to employanother admirable device: decree that every one who likes shall make amodel in clay exactly of the same size as the marble has to be. In thisway you will be able to judge far better who deserves the commission;and I may observe that if your Excellency does not give it to thesculptor who deserves it, this will not wrong the man so much, but willreflect great discredit upon yourself, since the loss and shame willfall on you. On the other hand, if you award it to the one who hasdeserved it, you will acquire great glory in the first place, and willemploy your treasure well, while artists will believe that youappreciate and understand their business.” No sooner had I finishedspeaking than the Duke shrugged his shoulders, and began to move away.While they were taking leave the ambassador of Lucca said to the Duke:“Prince, this Benvenuto of yours is a terrible man!” The Duke responded:“He is much more terrible than you imagine, and well were it for him ifhe were a little less terrible; then he would possess at the presentmoment many things which he has not got.” These precise words werereported to me by the envoy, by way of chiding and advising me to changemy conduct. I told him that I had the greatest wish to oblige my lord ashis affectionate and faithful servant, but that I did not understand thearts of flattery. Several months after this date, Bandinello died; andit was thought that, in addition to his intemperate habits of life, themortification of having probably to lose the marble contributed to hisdecline.

Note 1. Probably Girolamo Lucchesini.

CI

BANDINELLO had received information of the crucifix which, as I havesaid above, I was now engaged upon. Accordingly he laid his hands atonce upon a block of marble, and produced the Pietà which may be seen inthe church of the Annunziata. Now I had offered my crucifix to S. MariaNovella, and had already fixed up the iron clamps whereby I meant tofasten it against the wall. I only asked for permission to construct alittle sarcophagus upon the ground beneath the feet of Christ, intowhich I might creep when I was dead. The friars told me that they couldnot grant this without the consent of their building committee. [1] Ireplied: “Good brethren, why did not you consult your committee beforeyou allowed me to place my crucifix? Without their leave you suffered meto fix my clamps and other necessary fittings.”

On this account I refused to give those fruits of my enormous labours tothe church of S. Maria Novella, even though the overseers of the fabriccame and begged me for the crucifix. I turned at once to the church ofthe Annunziata, and when I explained the terms on which I had sought tomake a present of it to S. Maria Novella, those virtuous friars of theNunziata unanimously told me to place it in their church, and let memake my grave according to my will and pleasure. When Bandinello becameaware of this, he set to work with great diligence at the completion ofhis Pietà, and prayed the Duchess to get for him the chapel of the Pazzifor his monument. This he obtained with some difficulty; and onreceiving the permission, he erected his Pietà with great haste. It wasnot altogether completed when he died.